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But we are unable to discover the official records, or extracts of evidence from them. This is to be regretted, but, by way of consolation, we have the pleadings on both sides in an ancient French case of a haunted house. These are preserved in his Discours des Spectres, a closely printed quarto of nearly 1000 pages, by Pierre le Loyer, Conseiller du Roy au Siege Presidial d'Angers.
His face brightened. Michel de Bourges, so dauntless in the face of death, was faint-hearted in the face of exile. Brutalities and ferocities were mingled together. The great sculptor, David d'Angers, was arrested in his own house, 16, Rue d'Assas; the Commissary of Police on entering, said to him, "Have you any arms in your house?" "Yes," Said David, "for my defence." And he added,
The only features of the enormous structure are the blank, sombre stretches and protrusions of wall, the effect of which, on so large a scale, is strange and striking. Begun by Philip Augustus and terminated by St. Louis, the Château d'Angers has of course a great deal of history.
After many detours M. Froment-Meurice ushered us into a small room where he left us while he went to inform Lamartine that I wished to see him. The glass door of the room gave on to a gallery, passing along which I saw my friend David d'Angers, the great statuary. I called to him. David, who was an old-time Republican, was beaming. "Ah! my friend, what a glorious day!" he exclaimed.
"Memoires de Bertrand Barere": publies par MM. Hippolyte Carnot, Membre de la Chambre des Deputes, et David d'Angers, Membre de l'Institut: precedes d'une Notice Historique par H. Carnot. 4 tomes. Paris: 1843. This book has more than one title to our serious attention.
There are some curious old tapestries hung on the walls of the nave, a handsome carved pulpit and some fine glass of the twelfth and thirteenth centuries. In the chapel to the left is a Calvary by David d'Angers, a sculptor not without honor in his native town.
We can easily realise the excitement and joy Balzac felt in showing them all his treasures the bust by David D'Angers, the precious Medici furniture of ebony encrusted with mother-of-pearl, the Cellini statuettes, and the pictures by Giorgione, Palma, Watteau, and Greuze.
Having in each case more or less relation with, but really wholly outside of and superior to all "schools" whatever except the school of nature, which permits as much freedom as it exacts fidelity is the succession of the greatest of French sculptors since the Renaissance and down to the present day: Houdon, David d'Angers, Rude, Carpeaux, and Barye.
The great Montbeliardais whose brain weighed more than that of any human being ever known is represented with a pen in one hand, a scroll in the other, on which is drawn the anatomy of the human frame. He wears the long, full frock coat of the period, its ample folds having the effect of drapery. David d'Angers has achieved no nobler work than this statue.
It is a monument alike worthy of the artist and his subject, another instance of that dignified realism for which David d'Angers was so remarkable. There is, however, some doubt as to Bichat's birth-place; Lons-le-Saunier, as I have before mentioned, contesting the honour with Bourg. On the principle that two monuments to a great man are better than none at all, each place claims the honour.
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